WHERE IDEAL AND DENIAL COLLIDE

A debut album with a title like that will definitely get the Rogue's attention, and as transatlantic telepathic waves often work well, the band contacted this writer for a review of their impending release. Oddleaf has been working on this work for over 4 years, a courageous form of dedication, as the first album can be quite a challenge in breaking through the competition with a new twist to the vast panorama of styles that Prog can offer. Keyboardist whiz Carina Taurer and Mathieu Rossi on flute /electronic flute performed their due diligence by playing mostly medieval music for a decade and deciding to plunge into a Progressive rock project that fit their vision. Filling out the group, Olivier Orlando handles both bass and guitars, with drummer Clement Curaudeau and vocalist Adeline Gurtner completing the line-up. The Oddleaf sound is a melange of styles, ranging from the bombastic to the pastoral, with a focus on mostly ecological themes.

A piano and flute introduction sets the mood right from the start on "The Eternal Tree", with a whooshing mellotron blast to sizzle the senses, some electronic flute branches and a sense of adventure that blends gingerly into the nearly 12 minute long epic "Life". The lead vocalist glides into the busy arrangement with a newborn gentleness that does not fail to impress, a sudden organ rush thrilling the ears as it chops through the booming rhythmic forest of sounds from the guitars, bass and drums. Mathieu Rossi reintroduces his electronic version of the fabled silver instrument into the mix, which evolves quickly into an absolute whirlwind tour de force that slams fiercely and then veers back into more idyllic shades where the acoustic guitar and flute rule (always a genius combination).

The chorale breeze finally scours the horizon as the cycle nears it natural end, as the flute hushes its long last breath. Such is life, enjoy while it lasts! The rustic meanderings on "Ethereal Melodies" announce the softer side of the band's muse, with the piano and flute swaying in feudal-tinged joyfulness, the tempo raising when the chorus kicks in with quite the sonic elevation, thanks to the massed male and female backing voices. The uplifting centerpiece melody is breathtaking, the denouement never predictable but effortlessly accessible. Olivier Orlando unleashes a grizzly-bear guitar rant that reverberates with passionate glee. The synthesizer flutter outro is priceless.

The colossal 14 minute + epic is next, as "Back in Time" tackles the core essence of what this French band seeks to achieve, a perfectly balanced style that incorporates all the elements that are found in the vast panorama of sounds that prog has to offer, with controlled restraint in building up the tension. A decidedly Middle Ages feel is presented, the bass carving hard in the undergrowth near the moat, the trilling flutes and quavering synths dancing the gavotte, the burning organ thrashing the banquet hall, torches aglow, a merry time being had by all. Back in time, seeking refuge in your childhood, and believing in fairy tales, indeed! As far as adventurous spirit goes, this is quite the number! The ornate piano and pied-piper flute lead the way, through the drawbridge as the booming bass guitar faces the dragons head on. Carina ravages her keyboards with heroic ardour, the intense rhythm never far from "endiablee"! A tremendous slice of prog, I giggle in nervous enjoyment?.

A slight intermezzo with the habitual "Prelude" before leaping headfirst into battle on the implacable fury of "Coexistence -Part1", opening up with smoking hot mellotron cavalrymen, knighted guitar lances, bass bombards hurling cannon balls into the fray, synthesized archers invading the sky with their deadly arrows and the organ- drenched war flags aimed at the enemy. Coexistence? Pas tout de suite! The skirmish dies down and the solemn aftermath is expressed by a solitary flute hovering over the ravaged plain, the consequences of human folly overtly depicted by a dissonant cacophony of angry blasts from all of the instrumental interveners. This was the piece that confirmed my delight with this incredible debut, as the themes are rigorously illustrated, reigniting the prologue mellotron tempest, an instrumental 'chef d'oeuvre' that should conquer many hearts and minds among the prog troubadours, minstrels, raconteurs and even the odd 'jongleurs'.

4.5 Bizarre plants

ODDLEAF group founded in 2020 coming out of nowhere, sounds on YES, GENESIS, KING CRIMSON, CAMEL or even RENAISSANCE for the older ones, WOBBLER and MOSTLY AUTUMN for the younger ones.

"The Eternal Tree" latent piano-synth-mellotron intro, solemn, atmospheric rise, it announces heavy; a bit of medieval like in the old days when the intro brought you to the musical space, a flute in the distance. To make you shiver and stop your ear on it for cinematic prog blood bringing "Life" with the organ and the invasive vocal, a bit of AMBEON for your information, suave childish voice for a creamy harmony. Adeline juggles between softness and energy, slipping on the fat, velvety organ, the one from the time when we took our time, on that of Francis DECAMPS from the 70s, on the famous Charly OLEG who will show that the Hammond can be played on TV at prime time. The keyboard variation starts with an enchanting amalgam of musical colors, the flute worthy of an elven episode of the Lord of the Rings tempering the climate and bringing it with this warbling to a classical space. Everything is well fitted together to go from tender to emotion, from energy to sensuality, but this keyboard makes you think about this first opus of a group that came from nowhere. "Ethereal Melodies" follows, flute, melody of yesteryear, the neo-classical-medieval air making itself felt; Adeline makes the air vibrate, the keyboard always bucolic and vintage, the rise on an exhilarating folk trend with symphonic touches. A forward voice that dares to sing clearly in English launching a really well-made guitar solo by Olivier, high, fruity, airy, progressive; in short for the moment it's heavy.

"Back in Time" attacks the longest title, posed, an atmospheric-medieval variation on the bewitching voice of the CORRS, the tullian flute and the analog organ for the moment regression. AGUSA is the group that comes to mind; uptempo piano break to set the fire, but it doesn't take there, it's too soft, too folk, too predictable. The medieval air fortunately takes over, the synths look at those of the MINIMUM VITAL; the fairy flute with this shared feeling of the long title and the final rise of Carina's keyboards. The flute of JETHRO TULL refers to the progressive, vintage and logical madness with a last intoxicating funky solo. Note the voice-over of Dan CURTIS, in short a little flute good, too much flute kills the flute. "Prelude" as its name indicates, laughing seagulls, wavelets and magic keyboard, very beautiful shivering atmosphere leading to "Coexistence - Part I" for the slap; at the beginning it smells of jazz, but really a trait, then we embark on a progressive symphony where the Hammond reminds me of the one played by ANIMA MUNDI, on their 'Insomnia', in short 4 grandiloquent minutes. The flute break takes up the soporific side, the piano drives the point home, the sax synth with KING CRIMSON sauce sweeps this feeling away with a musical reverse, the organ worthy of a GENESIS from the 80s then worthy of an ODDLEAF with a technician decked out in the person of Carina. The final rise between the synth flights and the borderline heavy soft guitar that amplifies the modern sound of this final piece with the enjoyable megaptère cinematic. "Ethereal Melodies (Clip Edit)" as an almost useless bonus except to add that the guitar solo made me think for a moment of that of the EAGLES on their planetary hit, a sign?

ODDLEAF group that dares to offer prog rock from the 70s revisited in the 2020 decade. Originally on Profilprog.

Originally written for theprogmind.com

9/10

I get overly excited when I find a new band that really jives with me. I was contacted about the debut Oddleaf album recently, and I have fallen head over heels for this record. It's called Where Ideal and Denial Collide, and it releases October 11th.

Oddleaf hail from France. I was taken immediately by their fantastic cover art and overall sense of production value, which often isn't the case with debut albums. The lineup here is Carina Taurer on composition, keys, and backing vocals; Adeline Gurtner on vocals; Olivier Orlando on bass and guitar; Mathieu Rossi on flute; and Clément Curaudeau on drums.

Here's why I like this band so much. They have something of a retro progressive rock sound, but instead of sounding like Yes or Genesis, they take inspiration from some of the unsung heroes of the genre, such as Renaissance and Camel. Their music is, I daresay, a witchy and folk-leaning style of prog rock with hints of Big Big Train's pastoral side, while also sounding quite infectious and dark along the lines of Mostly Autumn and early White Willow.

There's just something about the mysterious shadows at play in this album that grabs hold of me. I love how bright and crystal-clear the vocals are, and how some songs come off as quirky, interesting, and even a bit strange. You will hear lots of flute, which is a major highlight for me, plus Mellotron and Hammond organ.

It isn't just these nostalgic sounds that make their music great. The songwriting is simply superb and whimsical in all the best ways. Honestly, if I were to compare them to a modern band, it would be Cuba's Anima Mundi. In fact, Carina's keyboard style has all the same flare and drama of Virginia Peraza's, who happens to be one of my favorite keyboardists. The music, then, is mystical, colorful, and imaginative, and the songwriting really sells those aspects.

The album is around 47 minutes long, but it feels shorter, honestly. This album flows by in such character and atmosphere that you'll want to put it on again immediately. There are six tracks, two of which are instrumental and transitional in style, but they are incredibly effective. The opener "The Eternal Tree" is only 2 minutes long, but in those precious seconds, we are introduced to the wonder and whimsy of the band, and also a sense of anticipation and cinema. It's amazing.

The next song is "Life", a piece with potent synth at its core, and with plenty of flute and keyboard madness to satisfy any prog head. I love how it transitions between delicate, ambient portions and fabulous chaos. The single comes next, called "Ethereal Melodies", and it is an instant favorite. The vocal lines are incredibly warm and infectious, evoking Karen Carpenter at times, and the excellent guitar solo near the end really gets things moving.

The second half of the album is even better. "Back in Time" is a 14-minute monster with some fantastic instrumental portions and even some funky grooves that always put a smile on my face. I should note that the flute performance on this song is particularly amazing. "Prelude" is next, being a one-minute piece that is basically synth ambience, and I love the aura it brings. The closer "Coexistence, Part 1" is probably my favorite on the album. This piece is about 11 minutes long, and it packs in so many shadows and mysteries into that runtime. I love the piano and the bold, intense synth work in the second part (really reminding me of Anima Mundi). The song, like the album, has constant celestial qualities that are truly beautiful.

Oddleaf should make a big splash with their debut, if there is any justice in the world. Where Ideal and Denial Collide is staggeringly gorgeous at times and quirky and nostalgic in others; it feels masterfully sewn together with excellent lyrics and introspective melodies. Their inspirations are many, but their sound is their own, and I think this first offering will prove to be memorable for me.

If you enjoy classic-era symphonic prog rock, but with a modern touch, then the wonderful debut release from the French progressive rock project Oddleaf is highly recommended. Where Ideal and Denial Collide is a compelling album full of epic, richly layered, sumptuous and dream-like compositions that mix the timeless prog of Yes, Camel, Genesis, Renaissance and King Crimson, with more contemporary influences such as Wobbler, Agusa, White Willow, Mostly Autumn, Monarch Trail and Big Big Train. The use of vintage keyboards, such as the Mellotron and Hammond organ, defines the lush and luminous musical soundscapes, but the inclusion of electronic and acoustic flute, four-part vocal harmonies and expressive female vocals in English, add a pastoral beauty and depth that draws you into the music effortlessly. The band started in 2020, with Carina Taurer (keyboards) and Matthieu Rossi (flutes) moving on from their early/medieval classical music and developing more progressive rock-orientated compositions. Joined in 2021 by Olivier Orlando (guitar and bass) and Clement Curaudeau (drums), the final piece of the jigsaw was completed with Adeline Gurtner, replacing the original vocalist Olivier Marcaud in 2023 ' accentuating the more feminine aspect of the band's music. Where Ideal and Denial Collide represents the culmination of four years of hard work and is a truly wonderful symphonic prog rock album. There is a cohesiveness to the album, with each track musically and lyrically connected by ecological and humanistic themes ' celebrating the majesty of nature, whilst questioning humanities place within it. Even the impressive CD artwork is a link to several songs on the album.

The Eternal Tree is the short opening instrumental, full of atmosphere and darkly dreamy instrumentation. Carina's repeating piano pattern is steadily built upon by deep keyboard chords and then some swirling synths over an insistent beat, with flute notes and a subtle folk-like character developing. It is a well-pitched, cinematic introduction into the music to come, and flows into the first of several extended epics on the album. Life begins with ethereal vocal harmonies mingling with some lovely keyboards, while Olivier's deep bass and Clement's drums push the music through to Adeline's lovely and warm lead vocals, which float smoothly above the dense instrumentation. The intelligent, poetic lyrics conjure up the birth of planet Earth and its development over 4 billion years, along with Mother Nature's endless cycles of growth and renewal, despite the efforts of mankind to disrupt it. 'Precious life, endless birth, This is our Mother Earth, Water, air, desert, snow, Let's fight for her, because'' Musically, it ebbs and flows, with dreamy and delicate passages transitioning into complex, intricate and chaotic sections with retro stabs of Hammond organ, as the bass and drums power through. The sound of water and birdsong are joined by Mathieu's pastoral flute, with piano and vocals then taking the track to a satisfying and thoughtful conclusion, as the winds of time blow.

Ethereal Melodies is a lovely folk-drenched slab of melodic prog, with some initial acoustic guitar and infectious, madrigal-like flute providing a soothing rustic feel to it all, which reminds me at times of the Swedish band, Agusa. Adeline's singing almost has a feel of Magenta's Christina Booth at times and the backing vocals, keyboard wash and piano support her so well. The evocative lyrics, written by Mathieu, seemingly transport us deep into ancient woods and the journey from a seed deep in the ground to the splendour of a fully grown tree. However, the tree is an allegory for the world, representing humanity. Carina tells me that the leaves, twigs and branches represent individuals or groups of individuals in society, and the golden or 'odd' leaves (hence the band name) represent those who try to open the eyes of others to the hope of change, unity, coexistence, respect for nature and the desire for renewal in our society. 'Ethereal Melodies, From millions of my leaves, Are spreading hope and peace. The only way for me, Guardian of the prophecy, For I'm the eternal tree.' It is a revolutionary, but peaceful message, delivered within a wonderfully accessible slice of symphonic prog, and a good choice for the album's promotional single. The uplifting guitar solo from Oliver towards the end provides a lovely focus to the music before the synths take us through to a contemplative and serene conclusion. A slightly shorter, clip edit of the track is also available on the album download.

The longest epic on the album is the melancholic and multi-faceted Back In Time. Composed back in 2021 during the pandemic lockdown period, the lyrics follow a woman looking back nostalgically at the past, childhood, family and the simplicity of life, in sharp contrast to the fear and isolation of her present life. The music accompanies the story well, starting with emotive and atmospheric keyboards and vocal harmonies over poignant flute lines, before slightly disturbing piano notes and a rhythmic build-up set up Adeline's longing vocals begin. 'Bring me back in time, Take me through the tunnel of life. Bring me back all this colours of a long gone past. Bring me back to a simple life, Please take me back in time.' There is a breezy, jazz-like interlude with flute and Hammond organ sounding a touch like Focus to these ears, before a return to the reflective main theme. The spoken, questioning words of Dan Curtis, enhance the unsettling feeling building up, with the instrumentation switching from intricate and complex, to a slower, more plaintive ambience. Sadly, the woman's journey into the past has seen her slowly sink into madness, and the yearning sadness of the closing vocals is in sharp contrast with the frenzied mix of off-kilter flute, edgy keyboards and manic laughter, signalling her mind's fall into the abyss.

Prelude is a short, synthesized introduction to the closing track of the album, the instrumental Coexistence ' Part 1. This is a track that will delight any fan of classic keyboard-led symphonic prog rock. Carina's superb keyboard skills really dazzle and shine, as do Olivier's bursts of resonating electric guitar. The musical template twists and turns, with Cl'ment's busy drums keeping everything pushing forward. More Hammond organ to savour before a change in tempo, and Mellotron, soaring flute and acoustic guitar provide a period of relative calm. However, the music then takes on a dark, heavy intensity with echoes of both King Crimson and Yes, majestically climbing higher to a wonderfully proggy crescendo (I'd liken it to Red/One More Red Nightmare meets The Gates of Delirium/Starship Trooper) before it finishes in a dark, echoey and surreal soundscape. Like so much on the album, there is just so much going on, it is impossible to describe adequately in just a few lines. I can't wait for Part 2!

I am genuinely excited and pleasantly surprised by this new French progressive rock band. Oddleaf are not necessarily breaking new ground with their debut album, Where Idea and Denial Collide. However, their unique take on symphonic prog rock ' mixing retro with modern, adding pastoral elements and delivering intelligent, articulate and thoughtful lyrics and themes, has produced music that is an absolute joy to listen to. The surprise package of the year for me, for sure ' this is not an album for prog rock fans to miss out on. Highly recommended!

Album review from ProgRadar